Awkward moment at the Pearly Gates


As if Death actually catching up with Bergman and Antonioni on the same day wasn’t enough, I bet there’s a Larry Davidesque moment happening in the afterlife right now, judging by Ing’s characteristically blunt appraisal of Mike. Whether either of these boys are actually getting into heaven at all is anotherĀ matter altogether.

“He’s done two masterpieces, you don’t have to bother with the rest. One is Blow-Up, which I’ve seen many times, and the other is La Notte, also a wonderful film, although that’s mostly because of the young Jeanne Moreau. In my collection I have a copy of Il Grido, and damn what a boring movie it is. So devilishly sad, I mean. You know, Antonioni never really learned the trade. He concentrated on single images, never realising that film is a rhythmic flow of images, a movement. Sure, there are brilliant moments in his films. But I don’t feel anything for L’Avventura, for example. Only indifference. I never understood why Antonioni was so incredibly applauded. And I thought his muse Monica Vitti was a terrible actress.”

“Fellini, Kurosawa and Bunuel move in the same field as Tarkovsky. Antonioni was on his way, but expired, suffocated by his own tediousness.”

Ouch. I bet Woody Allen wishes he was there.

Douche chill!

One thought on “Awkward moment at the Pearly Gates

  1. I’m gonna have to invoke “Inspector Leopard, of The Yald!!!… The same! Only more violent!” to indicate my level of understanding here. But, hey, you can’t ask for much change from 89, can you?

    Game of chess, anyone?

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